Dziewulski, designed the 20- x 8-foot multidimensional sculpture of an abstracted eye. Shan Shan Sheng, a Chinese-American painter and sculptor, created the watercolor imagery that gives the sculpture its magenta, purple and blue hues. Architectural Glass Art (AGA) fabricated the 44 panels of laminated glass for the sculpture to match the design exactly, and delicately installed each piece of art glass to the stainless steel framing.

The completed art is a dynamic composition of straight lines, vivid colors, complex angles and reflective surfaces. By day, the sun radiates light through the transparent panels allowing the sculpture to shine. When night falls, the static structure is illuminated, ensuring its glow is distinguished from the dark sky.

AGA’s installation team lead by John Sastre, who was assisted by Bob Cheever and Bart Herre, worked for roughly a week during install. After installation was completed and the team returned home, a dirt mound was piled around the base of the sculpture and covered with sod. This gives the illusion that the sculpture levitates slightly above the hill. The final touch, signage for the institute, was mounted to the curved brick wall that surrounds the hill and sculpture.

A member of Wichita State University's dance troupe represents one of the "bird people" depicted in the Miro mosaic.

Wichita State University (WSU) is in the process of deinstalling a 26-by-52-foot glass mosaic on the facade of the Ulrich Museum of Art. The WSU Foundation is launching a $3 million public fundraising campaign to preserve every piece of the campus and community icon and, according to the announcement, the mosaic is a world masterpiece and jewel in the Ulrich collection.

It will take about two weeks for the conservation crew to take down all 80 panels of the monumental mosaic Personnages Oiseaux (Bird People) created by modern master and artist Joan Miro, one of the leading artists in the School of Paris along with Pablo Picasso and Marc Chagall.

The removal of the mural on the WSU campus launches a five-year conservation effort. Conservation work on the Miro mosaic will be done by Russell-Marti Conservation Services, based in California, Mo.

Highlights of the artwork:

• Largest Miro mural in the United States at 52 feet wide and 26 feet tall;

• One of only four Miro murals in the United States;

• The only glass mural made by Miro in the world; other murals are ceramic or oil on canvas; and

• It was installed in 1978, five years before the artist died.

For more information can be found on the Ulrich Museum website or www.mirohero.com.

When composing his window design, von Roenn chose colors and images that he says inspire both positive and reflective thoughts. Soft blues and greens, balanced with vivid magentas and oranges, fill the space of the meditation room. The window, installed in June, was created to provide a peaceful, calming effect for the space while serving as a visual gateway to the hospital complex.

Images throughout the window’s composition were developed to represent the natural sustenance of life. Rooted from the bottom of the work spanning nearly to the top, is the silhouette of a tree that serves as a visual foundation for the art. The tree, which references Norton Healthcare’s logo, represents the strength needed to endure cancer treatment. In addition to the tree, other natural elements such as leaves, flowers, nautilus shells and a water crystal illustrate natural growth.

Inlaid glass jewels spiral throughout the composition, which von Roenn envisioned as seeds of hope that permeate all of life. Segments of the window are arranged in a rectilinear grid, which mimic the institution’s design. Another grid, composed of dichroic glass laminated to the exterior plane of the window, reflects colors that are seen from those passing the building on the main thoroughfare.

Karlsberger served as the overall building architect, while Architection was the radiation center architect.

"Wherever" by artist Eva Lundsager is one of the new glass installations at the St. Louis airport.

Each artist created designs for three side-by-side glass panels measuring 5.5 feet high by 3 feet wide, with an overall glass canvas of nearly 50 square feet. The nine local artists for this project were chosen from a competitive call to artists and were selected by the airport’s new Art Advisory Committee with a focus on their past artistic works and the best artistic styles that would translate into glass.

The selected artists are Lauren Adams, Sarah Giannobile and Joan Hall, all from St. Louis, Mo.; Jana Harper of Clayton, Mo.; Tom Huck and Eva Lundsager, both of University City, Mo.; William LaChance of Maplewood, Mo.; Edna Patterson-Petty of East St. Louis, Ill.; and Mel Watkin of Cobden, Ill.

“The nine selected regional artists represent a wide variety of contemporary artistic styles. The result will be an exciting and diverse collection of nine works created specifically for Lambert,” says Jill McGuire, executive director of the Regional Art Commission and member of the Airport’s Art Advisory Committee. “It is wonderful to see Lambert’s commitment to enriching its public spaces with art.”

The Art Glass Screens are being installed as part of $50 million in renovations to the Airport’s Terminal 1 and connecting concourses.

Housberg says he was drawn to this project due to its unique opportunities, namely to create related installations that introduce color, warmth and an individual identity to the three levels where the works would reside.

“I decided to design the walls with my signature sawtooth glass tiles, incorporating tapered thin bands of color reminiscent of ikat, a type of weaving, backlighting each 5- X 9-foot wall to create a visual image that is exacting enough to work in a chemistry building, but inventive enough to allow the culture of the university to shine through,” Housberg says.

The resulting project features six related yet distinct installations that are jewel-like and brilliantly reflected on the adjoining glass corridor walls.

“My concept for designing the CCM stores was to completely change the image of what is generally perceived as a mattress store,” says Ernie Roth, designer for Roth Design Group based out of Los Angeles. “By designing spaces that invite and draw the client in to explore each of the different areas created while allowing them to discover the quality of the beds in an environment that is warm and inviting. The selection of Modono glass tiles perfectly fit into my design solution by reflecting the company colors but also adding the ever changing spectrum of color variation. The tile has never been seen in the Los Angeles area before and has become quite a topic of conversation.”

The owner had requested the design be high quality and unique in order to reflect his product that would be on display within the walls. The tiles, which are manufactured in upstate New York by Applied Coatings Group, are a part of Modono Glassware’s line of glass tiles. Modono also has a line of giftware that includes mirrors, frames, clocks, art glass and more.

The pedway allows pedestrians to enter the arena above street level and also serves as a gateway into downtown Louisville from a primary freeway entrance. The all glass structure is composed of 1-inch thick laminated glass for the walls and roof, which are supported by laminated glass trusses with dichroic and holographic films, which change colors when viewed from different perspectives and when illuminated from different directions. The glass trusses are secured to the glass walls and roof with stainless steel hardware and structural silicone. The pedway is illuminated internally with LED lights at the base of each truss, which are activated by the movement of pedestrians. The exterior sides of the pedway are rolled perforated metal panels with LED lights behind that are programmed for continuous movement of colors with special effects during events at the arena.

In addition to the aesthetic nature, the structure is also architecturally distinctive. The glass trusses are secured to the steel beams that span the street by stainless steel pin connections, which allow for the movement of the bridge as well as for the movement of the glass. Second, the vertical and diagonal components of the trusses are joined by means of 1-inch thick laminated glass gusset plates. The bolts connecting the gusset plates and the truss elements are isolated so there is no bearing of the glass on any of the stainless steel bolts.

“The pedway was designed as a synthesis of art, architecture and engineering to the degree that the architecture is the art and the art is the architecture,” said von Roenn. “This is achieved by designing the primary structural component—the truss—as the most visually expressive element of the work.”

These structural trusses are visually prominent because of the dichroic glass films within the inner layer of the lamination. These films cast one color and reflect the complementary color when illuminated creating a dynamic appearance.

The trusses were preassembled in the studio and lifted as units onto the structural steel beams after which the glass walls and roof were installed with stainless steel hardware fittings and sealed with structural silicone.

Glasswerks in Los Angeles produced the glass walls and roof and Grove Glass in Garden Grove, Calif., fabricated the glass trusses. The dichroic/holographic film was produced at Architectural Glass Art, which also assembled the trusses. Akins Glass in Louisville, Ky., was responsible for the glass installation.

The site of the commissioned window served as the focal point of the sanctuary. It is 16 feet in diameter and occupies nearly the entire top half of the building’s eastern wall. Smith and Gans believed that the synagogue’s high-Victorian interior had an abundance of visual elements and did not need a new addition to its visual vocabulary. Instead, they chose to extend the use of the painted decoration that is featured prominently on the east wall and in the domes of the sanctuary interior. The design, a galaxy of golden stars against a blue firmament, recreates in stained-glass the blue and gold star pattern painted on the walls immediately surrounding the new window.

According to Smith and Gans’ artist statement, “The new stained-glass window will use the features and motifs of the existing synagogue in a new way so that the mind and eye reflect back on the interior space as they are drawn into the space of the window. The wall pattern of five pointed gold stars against a blue sky will be extended across the window. The ribs of the window will radiate from a Star of David at the center. In pattern and shape, this window will be similar to the existing ceiling domes of the synagogue and also the trompe-l’oeil windows to either side of the arc. The current technology of flash glass makes it possible to etch the yellow stars into a blue field without any outline or leading so that they will appear as more intense sources of light within the glow of the window. The translation of the traditional motif of the synagogue with this material and structure will intensify the floating qualities of the synagogue space and surfaces.”

According to the synagogue’s website, the site for the new design was originally a stained-glass rose window, which became damaged over time and was replaced in 1944 with tablet-shaped glass blocks. The site notes that “the decision to commission a new window pays homage to the grand intent of the synagogue’s original immigrant founders. At the same time, it extends the story of the building. Eldridge Street now bridges three centuries – built in the 19th, prosperity and decline in the 20th, and renewal in the 21st.”

The glass blocks were saved and will be used to create a Memory Wall on the lower level of the Museum.